No photography please

Rather than represent the world merely by photographic means, handmade moving-image artists seek to create new ways of seeing by staging a variety of interventions into the material makeup of celluloid. Handmade artists tattoo film’s skin not only with scratches and paint, but also with blood, dirt, paper, candy, sand, nail polish remover, and seawater. Seeking media not normally found in a filmmaker or artist’s studio, they mine their own bodies and backyards for things to make into moving images.

This program highlights rarely-seen works of artisanal film production from the Coop’s collection. Some of the works are wonderfully constructive, building up the visual surface of the film by combining found footage with painterly abstraction. Others are destructive, subjecting film to a variety of elemental and material stresses. Taken together, these films not only exhibit the diversity of handmade practices and concerns, they also provide a framework for rethinking how cinema can be made through its unmaking.

In other words, handmade cinema—in concept, material, and execution—is counter-cinema.

Cameras and body memory create new blends of performance with visual art practice

I propose that a learnt somatic experience of dance can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. I have developed two series of art works of prints and video made in response to the Australian landscape. By analyzing my method of movement and photography I will describe how an embodied dance language can result in a material outcome – a series of drawings of light and movement, a body signature made possible through old and new technology. I have activated a performative state while capturing images discovering new ways of using technology reliant upon my knowledge of dance, performance and photography. Making a human size camera to make analogue prints I gained an intuitive knowledge of light – a skill that has become foundational in performance and photography. In response to space and light in the Australian landscape I then built a custom made camera that allows for the longest possible time to capture an image. I move while taking the image and use the camera as if an eye at the end of my arm. In this way I activate dance skills and embodied knowledge of space, timing and light, opening up a radical space for new thinking, making and performing.Furthermore this process engages memory and sentiment embodied through age. Many artists have responded to the unique qualities of the Australian landscape and by using a performative/photographic approach I have engaged with my own body memory. Being brought up in the landscape and training in ballet my body has acquired memories at a cellular level. My method has given memory a voice. In doing these works I have become conscious of how unconscious memories of the space and light in the landscape is a movement vocabulary activated in a way that ‘feels’ like dancing. As an ageing person this experience is profound and the resultant materialisation of the photographs and videos leave a material record of the event. The sentiments evoked through my process bridge the past with the present, the body with the mind, memory with body and space connecting disciplines in a new way.The materialisation of artworks itself continues cross-disciplinary processes using a technique that is a continuum of the performative. Through using technology I release memory of the landscape and pixel by pixel build imagery that relies on and is a part of the performative process. It is a photographic performance dance manifesting as pigment on paper exhibited a gallery context. The exhibition allows a space for the viewer to respond - re-membering the universal the act of moving. The works titled ‘body signatures’ and ‘Fly Rhythm’ become a communicative device in the gallery context.My paper through an analysis of process and methods used in making the two series will talk to several of the subjects listed and reveal a new way of connecting performance and visual art and old and new technologies.

The afterlife of found photographs

The world is scattered with unhinged vernacular snaps. EBay is a giant and ever-changing album of examples for sale. Each of these photos is past its original use. Found photographs are at once replete with life and hearsed in death. Adding to this, the analogue vernacular snap is itself a type of photography that is essentially past its use-‐by date. If photography is the medium of record, what are we to make of these recently redundant records? Do they capture Benjamin’s idea of the dialectic at a standstill or just mum in her pyjamas? They concertina time and make trouble for it — and us. This paper will look at what might be made of found photographs: what meanings might be gleaned from them, and what we might find in the accumulation of details. We will closely look at examples that press the limits of photographic representation as if on a dare.

Field evaluation of melolure, a formate analogue of cuelure, and reassessment of fruit fly species trapped in Sydney, New South Wales, Australia

In Australia, tephritids are usually attracted to either cuelure or methyl eugenol. Methyl eugenol is a very effective lure, but cuelure is less effective likely due to low volatility. A new formate analogue of cuelure, melolure, has increased volatility, resulting in improved efficacy with the melon fruit fly, Bactrocera cucurbitae Coquillett. We tested the efficacy of melolure with fruit fly species in Sydney as part of the National Exotic Fruit Fly Monitoring programme. This monitoring programme has 71 trap sites across Sydney, with each trap site comprising separate Lynfield traps containing either cuelure, methyl eugenol, or capilure lure. In 2008, an additional Lynfield trap with melolure plugs was added to seven sites. In 2009 and 2010, an additional Lynfield trap with melolure wicks was added to 11 trap sites and traps were monitored fortnightly for 2 yr. Capture rates for melolure traps were similar to cuelure traps for Dacus absonifacies (May) and Dacus aequalis (Coquillet), but melolure traps consistently caught fewer Bactrocera tryoni (Froggatt) than cuelure traps. However, trap sites with both a cuelure and melolure traps had increased capture rates for D. absonifacies and D. aequalis, and a marginally significant increase for B. tryoni. Melolure plugs were less effective than melolure wicks, but this effect may be related to lure concentration. The broader Bactrocera group species were attracted more to cuelure than melolure while the Dacus group species were attracted more to melolure than cuelure. There is no benefit in switching from cuelure to melolure to monitor B. tryoni, the most important fruit fly pest in Australia.

Chamber music in painting photography film

This exhibition expands upon the history, approaches of experimental film and image making. Through speculative and abstract approaches the artists appropriate images to deal with trauma, confusion and nostalgia. The artists in this exhibition use personal imagery to demonstrate abstract ideals and idiosyncratic perspectives. Work in the show will be made up of photographic prints, collage, 16mm film and video work. Through physical manipulations of the image surface, retrenching of forgotten archives and poetic layerings of time and place, this exhibition aims to examine the de-linear and personal ways artists can experiment with the image.Through incorporating work of long standing artists Dirk De Bruyn and Luigi Fusinato in contrast with the work of young artists Anna Higgins and Beth Caird, the exhibition will examine the relationship between experimental film from a pre-digital context and how it influences, echoes and evolves in a post-digital environment.

Development and evaluation of a novel insulin analogue

 This project examined the impact of pegylation on secondary structure of insulin during tablet making process and assessed the metabolism in in-vitro and in-vivo model. It was found that pegylation per se does not affect the secondary structure of insulin. The tablet making process did not have any impact on the pegylated insulin structure. In the in vitro model and in vivo model, pegylated lysine and free peg molecule were found to be the metabolites specific to pegylated insulin.

The body in photography: an improvised performance with light

Considering the way light is integral to photography I draw on its paradoxical nature at sub atomic levels that describe how, when observed it changes. Taking a biocentric approach ; ‘A radical new view of reality: Life creates time, space, and the cosmos itself The farther we peer into space, the more we realize that the nature of the universe cannot be understood fully by inspecting spiral galaxies or watching distant supernovas. It lies deeper. It involves our very selves.’ (Lanza, 2009), I aim to clarify how embodied photographic practice can be explored through improvisational and performative discourse.